The first volume in the Casal Quartet’s Birth of the String
Quartet series introduces the listener to scores by Alessandro
Scarlatti, Sammartini, Mozart, Boccherini and Haydn. It was
reviewed
here in February 2010. That disc won an Echo Klassik award in
the category for ‘best recording in 17/18th Century chamber
music category’. This second volume in the series tracks the
form of the string quartet in much the same era: around the
time of the evolution from the baroque into the classical. This
second volume has already won the eminent Diapason Award
Découverte.

The first two scores take the form of the quartet sonata known
as a ‘quadro’ and usually containing a basso continuo. The earliest
work is the circa 1740 example from Telemann the mega-prolific
German who spend most of his life in Hamburg. I am unable to
identify exactly which work is being played from the sparse
information given in the notes. We are told that the four movement
piece was originally scored for transverse flute, violin, viola
da gamba and basso continuo. The short and simple opening movement
Adagio precedes a cheerful Allegro. A yearning
second Adagio is followed by a final Allegro with
a tempo that feels more like a Presto.

Parisian, Guillemain studied in Italy before returning to work
in France principally in Paris for the Royal Court. His three
movement score is the string quartet version of his Op. 12/2
from the 1743 set of Six sonates en quatuors ou conversations
galantes, for flute, violin, bass viol, and basso continuo.
Bright and upbeat, the opening Allegro moderato has a
slight undercurrent of pathos. At almost ten minutes in length
the extended Aria grazioso,Altro is pensive and
seems rather too lengthy for its material. The concluding Allegro
is brisk and breezy. Designed in the form of the
string quartet that we are familiar with today Mozart’s String
Quartet No. 10, K. 170 is one of his so-called ‘Viennese
quartets’ from 1773. This four movement work dates from the
period when the seventeen year old composer was strongly influenced
by Haydn. The opening Andante sports a pleasing theme.
A set of four variations is followed by a stately Menuetto.
With its lovely melodies the Un poco Adagio is played
with rapt tenderness and the concluding movement a Rondo,
Allegro is lively and playful.

The final score of the disc is Haydn’s four movement Op. 76/1
– of six. Commissioned by Count Erdödy and completed in 1797
they were Haydn’s last completed set. In the opening Allegro
con spirito I thought that the tempo could have been quicker
and the playing more spirited. With some glorious and memorable
melodies the Adagio sostenuto has a meditative feel -
almost spiritual. The elegant Menuet, Presto needed
to be taken quicker though the brisk Finale is full of
high spirited writing.

Founded in 1996 the Casal Quartet adopt historical performance
practise. They play period instruments with gut strings and
bows to match. Increasingly a number of quartets on today’s
scene are attracted to this specialist area. Undoubtedly the
best known in the field is the renowned Quatuor Mosaïques with
other fine exponents including Quatuor Chiaroscuro led by Alina
Ibragimova.

The booklet notes explain how the Casal Quartet use a valuable
set of mid-seventeenth century instruments by maker Jacobus
Stainer from Absam near Innsbruck in the Austrian Tyrol. We
are informed that the set is on loan from the Musikkollegium
Winterthur (Winterthur Music College), near Zurich. The quartet
of instruments is labelled “Jacobus Stainer in Absam near Oenipontum”
and comprise two violins from 1659, a viola from 1660 and a
cello from 1673. All the instruments have been restored by violin
maker Aline M. Oberle. Decent photographs of the instruments
are prominently shown in the booklet. Andreas Fleck points out
to me that some of the pictures were taken before the instruments
were brought back into their original condition. Link
to more information about the Stainer Quartet of instruments.

The playing of the Casal is selflessly assured and alert. However
everything feels a touch too serious which doesn’t help the
overall effect. The sound they produce is immediate with a nicely
blended tone. I would have liked more information about each
of the four scores. They are closely recorded with the cello
placed a touch forward. The recorded sound has an impressive
clarity with slight but pleasing reverberation. With a few minor
reservations I enjoyed this Solo Musica release greatly and
keenly look forward to the third volume in the series.

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